Far from breaking the rhythm of the performance, this is actually in keeping with the other-worldly feel of many Noh plays, especially in those characterized as mugen. Of the roughly plays created for Noh that are known today, about make up the current repertoire performed by the five existing Noh schools. The current repertoire is heavily influenced by the taste of aristocratic class in Tokugawa period and does not necessarily reflect popularity among the commoners.
All Noh plays can be classified into three broad categories. While Genzai Noh utilizes internal and external conflicts to drive storylines and bring out emotions, Mugen Noh focuses on utilizing flashbacks of the past and the deceased to invoke emotions. Additionally, all Noh plays may be categorized by their style. All Noh plays are divided by their themes into the following five categories. This classification is considered the most practical, and is still used today in formal programming choices today.
In addition to the above five, Okina or Kamiuta is frequently performed at the very beginning of the program. Combining dance with Shinto ritual, it is considered the oldest type of Noh play. The following categorization is that of the Kanze school. Many Western artists have been influenced by Noh. Zeami and Zenchiku describe a number of distinct qualities that are thought to be essential to the proper understanding of Noh as an art form. Noh is still regularly performed today in public theatres as well as private theatres mostly located in major cities. There are more than 70 Noh theatres throughout Japan, presenting both professional and amateur productions.
Additionally, there are various prefectural and municipal theatres located throughout Japan that present touring professional companies and local amateur companies. In some regions, unique regional Noh such as Ogisai Kurokawa Noh have developed to form schools independent from five traditional schools.
Audience etiquette is generally similar to formal western theatre—the audience quietly watches. Surtitles are not used, but some audience members follow along in the libretto. Because there are no curtains on the stage, the performance begins with the actors entering the stage and ends with their leaving the stage. The house lights are usually kept on during the performances, creating an intimate feel that provides a shared experience between the performers and the audience. At the end of the play, the actors file out slowly most important first, with gaps between actors , and while they are on the bridge hashigakari , the audience claps restrainedly.
Between actors, clapping ceases, then begins again as the next actor leaves. Unlike in western theatre, there is no bowing, nor do the actors return to the stage after having left. A play may end with the shite character leaving the stage as part of the story as in Kokaji, for instance —rather than ending with all characters on stage—in which case one claps as the character exits. During the interval, tea , coffee , and wagashi Japanese sweets may be served in the lobby. The audience is seated in front of the stage, to the left side of the stage, and in the corner front-left of stage; these are in order of decreasing desirability.
While the metsuke-bashira pillar obstructs the view of the stage, the actors are primarily at the corners, not the center, and thus the two aisles are located where the views of the two main actors would be obscured, ensuring a generally clear view regardless of seating.
Between the Covers
Copyright The image is from Wikipedia Commons. Wikipedia Page.
This article is about the classical Japanese dance theatre. For the town in Africa, see Noh, Burkina Faso. For other uses, see Nou disambiguation. Not to be confused with Kabuki. Noh performance at Itsukushima Shrine.
- Account Links!
- Noh Drama Ten Plays by Zeami Motokiyo - AbeBooks.
- The Journey To The Revelation Of My Soul;
- Out of the Closet onto the Stage: An Anthology of Contemporary Mexican Gay and Lesbian Theater (Latino LGTB Collection)?
- Uomo e donna. Libro secondo (Italian Edition).
- The Improper Feminine: The Womens Sensation Novel and the New Woman Writing.
- Fetish Fantasies: The Box?
Main articles: Zeami Motokiyo and Kan'ami. Plays with individual articles are listed in Category:Noh plays. Japanese Theatre. Rutland, Vermont: Charles E. Tuttle Co. Retrieved 6 December Retrieved 15 October The Japanese theatre: from shamanistic ritual to contemporary pluralism. Princeton University Press. Yale Art Gallery. Tokyo: Kadokawa. National Cultural Heritage Database. The Agency for Cultural Affairs. The Noh Theater: Principles and Perspectives.
Journal of International Japan-Studies. Retrieved Nov 8, Drama from the Rim. Melbourne: Drama Victoria. Tokyo: Sekai Shisou Sha. The Nohgaku Performers' Association. The Nohgaku performers' association. Tokyo National Museum. Retrieved History of the Theatre Foundation ed.
Boston, MA: Allyn and Bacon. Boston: Museum of Fine Arts Publications, Sky Two Harbors Press. Summer Modern Drama. Education Scotland. UK government.
Historical Collection: UNESCO Culture Sector
Archived from the original PDF on 24 July Retrieved 10 December New Theatre Quarterly. Eugene O'Neill Review. Thornton Wilder: New Essays. Archived from the original PDF on Unsung Composers. Retrieved 29 March London: The Boydell Press. Benjamin Britten: A Biography. London: Faber and Faber. The Scotsman. Retrieved 13 December The American Prospect. The Guardian. Perspectives of New Music. New York Times.
Retrieved 14 December The New York Times. Electronic Music Foundation. Archived from the original on Rutland, Vt. Tuttle ; Unesco collection of representative works ; Japanese series. Arishima, Takeo,. Aru onna.
- The Noh Drama.
- The Bible, the Quran and Science: The Holy Scriptures Examined in the Light of Modern Knowledge 2014.
- Thérèse ou le drame de lincrédulité (French Edition).